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Claudia Salaris CLAUDIA SALARIS FUTURISMI NEL MONDO FUTURISMS IN THE WORLD COLLEZIONE ECHAURREN SALARIS A Isabella Musolino, compagna di viaggio in questo giro del mondo To Isabella Musolino, travelling companion on this journey round the world SOMMARIO | CONTENTS La Fondazione Echaurren Salaris e la casa editrice Gli Ori rin- Claudia Salaris graziano le istituzioni che, sin dall’esordio, hanno appoggiato il progetto della pubblicazione dei volumi dedicati alla collezione UNA NUOVA FRONTIERA | A NEW FRONTIER 5 Echaurren Salaris: la Galleria Nazionale d’Arte Moderna e Con- temporanea con la soprintendente Maria Vittoria Marini Clarelli e l’Accademia Nazionale di San Luca con il segretario genera- Filippo Tommaso Marinetti le Francesco Moschini. Un ringraziamento è dedicato a Vivien Greene, senior curator del Solomon R. Guggenheim Museum di LE FUTURISME MONDIAL. MANIFESTE À PARIS | WORLD FUTURISM. New York. MANIFESTO TO PARIS 19 Un particolare riconoscimento va a due indispensabili collabora- tori e interlocutori, Riccardo Sozio e Bruno Tonini, con i quali la Fondazione Echaurren Salaris ha condiviso quotidianamente per ARGENTINA 24 anni un impervio percorso di ricerca. Una menzione speciale è per Francesca Barbi Marinetti, che sta seguendo con attenzione tale iniziativa. E grazie a Antonella AUSTRIA 48 Sgambati per la sua collaborazione. Alla realizzazione di questa opera hanno portato il loro contributo anche Enrico Bittoto, Riccardo Boglione, Adriano Carlesi, Giaco- mo Coronelli, Stefano Dello Schiavo, Cesare G. De Michelis, Lucia BELGIO | BELGIUM 62 Di Maio, Gábor Dobó, Serena Fineschi, Mariann Gergely, Jadwiga Głusiec, Benedikt Hjartarson, Giovanni Milani, Sandra Kļaviņa, Elizabeth Phillips, Roberto Rodriguez, Gianfranco Sanguinetti, BOLIVIA 134 Anna Thorsdottir, Georgina Torello, nonché Huw Evans, traduttore e acuto redattore. Ad essi un sincero grazie. Inoltre, un pensiero riconoscente va a tutti coloro che hanno BRASILE | BRAZIL 136 sostenuto tale impresa con le loro recensioni, tra cui Arianna Antoniutti, Armando Audoli, Eric Bulson, Mario Chiabrando, Lauretta Colonnelli, Giuseppe Dierna, Carla Di Donato, Massi- BULGARIA 156 mo Duranti, Diego Gabutti, Andrea Kerbaker, Vincenzo Mollica, Realizzazione del volume | Realization Ilaria Oliva, Livio Quagliata, Miro Renzaglia, Nanni Riccobono, Gli Ori, Pistoia Mirella Serri e Paolo Vercesi. CANADA 162 Traduzioni | Translations Huw Evans The Fondazione Echaurren Salaris and the publishing house Gli CECOSLOVACCHIA | CZECHOSLOVAKIA 166 Ori would like to thank the institutions that, from the outset, have Fotografie | Photographs given their support to the project of publication of the volumes de- CILE | CHILE 222 Massimiliano Ruta pp. 54, 397, 399, 403 voted to the Echaurren Salaris collection: the Galleria Nazionale d’Arte Moderna e Contemporanea and its curator Maria Vittoria Marini Clarelli and the Accademia Nazionale di San Luca and Prestampa e stampa | Preprint and Print its secretary-general Francesco Moschini. Our thanks also go to CROAZIA | CROATIA SERBIA SLOVENIA 240 Bandecchi & Vivaldi, Pontedera Vivien Greene, senior curator of the Solomon R. Guggenheim Mu- seum in New York. Copertina | Cover In particular an acknowledgment must be expressed to two in- CUBA 254 Gösta Adrian-Nilsson, 1917 ca. dispensable collaborators and interlocutors, Riccardo Sozio and Bruno Tonini, with whom for years the Fondazione Echaurren Salaris has been sharing an eventful daily journey of research. DANIMARCA | DENMARK 266 A special mention to Francesca Barbi Marinetti, who is closely © Copyright 2015 following this enterprise. And thanks to Antonella Sgambati for her collaboration. ECUADOR 268 per l’edizione | for edition Others who have contributed to the realization of this work inclu- Fondazione Echaurren Salaris, Roma, de Enrico Bittoto, Riccardo Boglione, Adriano Carlesi, Giacomo Gli Ori, Pistoia Coronelli, Stefano Dello Schiavo, Cesare G. De Michelis, Lucia Di EGITTO | EGYPT 274 Maio, Gábor Dobó, Serena Fineschi, Mariann Gergely, Jadwiga per testi e immagini | for texts and images Głusiec, Benedikt Hjartarson, Giovanni Milani, Sandra Kļaviņa, Fondazione Echaurren Salaris Elizabeth Phillips, Roberto Rodriguez, Gianfranco Sanguinetti, ESTONIA 284 ISBN 978-88-7336-534-1 Anna Thorsdottir, Georgina Torello, as well as Huw Evans, tran- Tutti i diritti riservati | All rights reserved slator and sharp-eyed editor. To them a sincere thank. In addition, we would like to express our gratitude to all those who FINLANDIA | FINLAND 310 have supported the undertaking with their reviews, including Arian- www.gliori.it na Antoniutti, Armando Audoli, Eric Bulson, Mario Chiabrando, www.fondazioneechaurrensalaris.it Lauretta Colonnelli, Giuseppe Dierna, Carla Di Donato, Massimo FRANCIA | FRANCE 324 Duranti, Diego Gabutti, Andrea Kerbaker, Vincenzo Mollica, Ilaria Finito di stampare nel mese di agosto 2015 Oliva, Livio Quagliata, Miro Renzaglia, Nanni Riccobono, Mirella Printed in August 2015 Serri and Paolo Vercesi. GERMANIA | GERMANY 520 GIAPPONE | JAPAN 574 GRAN BRETAGNA | GREAT BRITAIN 602 GUATEMALA 646 ISLANDA | ICELAND 650 LETTONIA | LATVIA 652 LITUANIA | LITHUANIA 666 MESSICO | MEXICO 686 NORVEGIA | NORWAY 714 OLANDA | THE NETHERLANDS 716 PERÙ | PERU 724 POLONIA | POLAND 740 UNA NUOVA FRONTIERA | A NEW FRONTIER PORTOGALLO | PORTUGAL 772 PORTO RICO | PUERTO RICO 806 ROMANIA 810 RUSSIA 822 SPAGNA | SPAIN 966 STATI UNITI | UNITED STATES 1036 SVEZIA | SWEDEN 1120 SVIZZERA | SWITZERLAND 1128 TURCHIA | TURKEY 1152 UNGHERIA | HUNGARY 1158 URUGUAY 1184 BIBLIOGRAFIA SELEZIONATA | SELECTED BIBLIOGRAPHY 1203 INDICE DEI NOMI | INDEX OF NAMES 1215 5 Il futurismo è ormai noto in tutti e cinque i continenti, tanto è complesso intreccio di rapporti che costituirono con le loro storie particolari la vero che fin dal Giappone arrivano continui inviti per conferenze grande storia dell’avanguardia primonovecentesca. ed esposizioni e gruppi di giovani entusiasti confessano in lunghe Nato a Milano, il futurismo non fu un fenomeno esclusivamente nazionale, infatti lettere che han cominciato a togliere dalle pareti delle loro stanze riproduzioni di Raffaello e di Leonardo, per metterci fotografie e ebbe un carattere che potremmo definire glocal, essendo legato al territorio da stampe dei quadri dei pittori futuristi. robuste radici e al tempo stesso programmaticamente teso al confronto interna- zionale. Del resto, il cosmopolitismo caratterizzò la stessa biografia del fondatore Luciano Folgore, Negli hangars del futurismo, 1914 Filippo Tommaso Marinetti, che per le sue origini appariva ai contemporanei un esotico déraciné. Italiano nato in Egitto, di formazione francese, prima di lan- ciare il futurismo si era fatto conoscere nei circoli della cultura ufficiale parigina Sin dall’esordio il futurismo ha incontrato grandi difficoltà nel suo stesso paese. come autore franco-italiano, collaboratore assiduo di riviste francesi e direttore Non era facile essere futuristi sia nell’Italia dell’inizio del ventesimo secolo, na- della rassegna internazionale “Poesia”, che dal 1905 al 1909 ospitò autori fran- zione schiacciata da un grande passato, sia negli anni del regime, quando i settori cesi, belgi, italiani, britannici, americani, tedeschi, russi, spagnoli, portoghesi, più conservatori della cultura fascista tentarono di emarginare questo movimen- sudamericani, polacchi, greci ecc. Questa testata fu anche la prima tribuna del to. E dopo la fine della seconda guerra mondiale, a causa del coinvolgimento futurismo, movimento che, grazie ai legami intessuti da suo creatore, riuscì a con il fascismo, per il futurismo non fu facile essere valutato con quel distacco penetrare in Belgio, Francia, Germania, Gran Bretagna, Spagna, Russia e, con un necessario a formulare un giudizio obiettivo. Da allora, tuttavia, gli studi sono sapiente uso dei mass-media, approdò nelle Americhe e dall’altra parte del globo, andati avanti e, a dispetto delle difficoltà dettate da preclusioni d’ordine non solo in Giappone, influendo non poco sulle avanguardie mondiali. ideologico ma anche culturale, si può dire che il futurismo abbia finalmente otte- Marinetti fu un intellettuale cosmopolita per lingua, formazione, contatti e fre- nuto il legittimo riconoscimento in Italia come all’estero. quentazioni, una specie rarissima nell’Italia del tempo. Negli anni d’oro del fu- Un’operazione analoga a quella svolta dagli esperti nel corso di diversi decenni turismo guadagnò il soprannome di «Caffeina d’Europa» per l’energia impiegata per far conoscere il futurismo nei suoi molteplici aspetti è ciò che oggi si prospetta nel sostenere i principi della sua scuola attraverso esposizioni, conferenze, ma- sul terreno dei legami tra il movimento italiano e le altre avanguardie. Questo nifesti e pubblicazioni. Grazie a questa dinamica azione promozionale mise in nodo davvero cruciale è il campo in cui si posso verificare le più interessanti e circolazione quei fecondi impulsi che prepararono il terreno agli altri ismi del inaspettate scoperte. Il presente lavoro intende attraversare proprio tale nuova Novecento. Peraltro, già all’epoca alcuni esponenti del modernismo internazio- frontiera con l’ambizione di fornire un punto di vista inedito nel valutare quel nale riconobbero al movimento marinettiano il merito di essere il precursore delle Futurism is now known on all five continents, so much so that invi- has at last gained the recognition it deserves in Italy and abroad. tations to hold lectures and exhibitions are arriving continually from An operation analogous to the one carried
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